Motown The Musical has rolled into Bradford and is on at the brilliant Alhambra Theatre for just a few days. I seem to visit this place on an ever more frequent basis, as this is my third time in just 5 weeks, and now, is it just me, or are touring shows in 2019 just going from strength to strength?!? I saw Matilda when it was here, Brilliant; I don’t know enough words to be able to describe it in a way to do it justice. Then I saw Avenue Q. This was potentially the funniest show I have seen for a very long time. The performance was superb. Now, tonight, Motown The Musical. OH MY DAYS. What a stunning performance of a show I knew nothing about and had no idea what to expect, other than brilliant music. The show opened with a mega-medley of a bunch of different Motown hits, and then steam-rollered its way through hit, after heavy hit, telling the story of Berry Gordy, and the history of Motown Records. The show had a really great way of showing us the storyline of Motown, while filling us up to the brim with great music, performed by great performers.
From the story of Smokey Robinson (played by Nathan Lewis), to the wonderfully portrayed Diana Ross (Karis Anderson) and the Supremes, the rise of Marvin Gaye (Shak Gabbidon-Williams) and of course, The Jackson 5, lead by none other than, in Berry’s own words, 'a 2 year old kid', the young Michael Jackson (Yami Mirazi). The story also showed the troubles that occurred with the deaths of President John F. Kennedy and Dr. Martin Luther King, driving home how these two influential figures meant so much to the black communities. The story also showed, and highlighted the relationship between Berry (Edward Baruwa) and Diana Ross, the highs and lows, which, I thought was a great touch. The main side story, or theme of the Motown story was the rising of Diana’s career, from just a regular girl in a three-piece girl band, who couldn’t get a break, all the way up to the superstar of her time, with her story highlight being her debut solo performance in Las Vegas, which was played out as real in the story, involving members of the audience who were invited up to the stage, in an almost cringeworthy Karaoke section, of her debut solo single, “Reach Out And Touch (Somebody’s hand)” and the heart-breaking moment when she tells Berry that she’s received a multi-million dollar contract offer, and she’s leaving Motown. Nearer the end of the show, we are introduced to some of Motown’s more modern acts, The Commodores, Rick James, Teena Marie, and of course, Stevie Wonder (Daniel Haswell), then just as the show is about to end, we are taken back to a recap of the opening scenes just before the Motown 25th anniversary concert, and Berry telling Smokey that he won’t be appearing at the event, but of course, he shows up, mid-way through a speech given by Diana, there’s a wonderful reuniting of all the old performers, they hug, then finish in the only way that anything Motown related can do, with the whole cast singing “Ain’t No Mountain High Enough” led by Diana Ross.
As a musician myself, I love hearing people perform to the highest level, and I would love to congratulate the work that the Vocal Coach, who sadly isn’t mentioned in the programme, has done with the cast. But also, you cannot re-enact the works of all of the great artistes without recreating their iconic choreography, and the team, led by Patricia Wilcox and Warren Adams, did an outstanding job. Every routine was slick, beautifully synchronised, and amazingly executed, which was such a joy to behold.
Aside from the great performances on stage, this show was a masterclass in quick costume changes, as each cast member at one point during the show had to do a complete outfit change in less than 20 seconds, and that takes a lot of organisation, skill and effort, and the fabulous wardrobe department, lead by Suzanne Runciman, did an great job. The costumes, in my mind were perfect, and pair this up with the brilliant work of the hair, makeup and wig team, lead by Sophie Peters, made for the whole cast looking exactly how they should. The attention to detail by these guys was mind blowing, from the style, material and accessories on Young Michael’s plum and emerald fedora, to the beads in Stevie wonders hair, and of course, his iconic shades.
Now, its all well and good having excellent costumes, and excellent actors, and an excellent band, led by flamboyant MD, Griff Johnson, but if it weren’t for the set design, which was mostly large screens which were floating around, and moving on and off the stage, via remote control, which was not only very cool, but they were used to great effect. With the majority of the scenes being set by what was on the screens, the content had to be up to scratch, which, thanks to the team of David Korins, and Daniel Brodie, who were in charge of the scenic and the projection design, was a brilliantly innovative, and visually dazzling success, rounding the whole production off, and putting a big juicy cherry on top of what was, an utterly stunning show.
If I were the director, I would be so, so happy with the level of excellence that this tour is able to produce, night after night, and considering that this is a touring production, this triumph of a show is unbelievable. Alas I am not. But Charles Randolph-Wright is, and he has done a great job bringing this show to life, but, considering that he was the director of Motown the Musical on Broadway, in the West End, and the national tour, I’m not surprised that he’s done such a good job.
I think I’ve used every superlative, and every cliché in my arsenal to describe my feelings for this show. All I can say is, if you get the chance to go and see this show, you would be an absolute fool not to.
Reviewer - Simon Oliver
on - 10/4/19
No comments:
Post a Comment